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Major newspapers ran a summer reading list. AI made up its book titles.

Major newspapers ran a summer reading list. AI made up its book titles.

Boston Globe21-05-2025

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Many pointed out quotes attributed to experts and professors who don't seem to exist, or at least don't have a significant online presence. Similarly, some pieces in the package featured quotes that social media sleuths said could not be found online — such as one from Brianna Madia, the author of a van-life book called 'Nowhere for Very Long,' talking about hammock culture to Outside Magazine in 2023. Interviews she did with the magazine in 2019 and 2017 did not feature any discussion on hammocks, and she does not appear in any of the magazine's 2023 stories online.
The section's 'Summer reading list for 2025' recommended not only fake books such as 'Tidewater Dreams' by Isabel Allende and 'The Last Algorithm' by Andy Weir, but also imaginary titles from authors Brit Bennett, Taylor Jenkins Reid, Min Jin Lee, and Rebecca Makkai. (The list does feature some real books, including Françoise Sagan's 'Bonjour Tristesse' and André Aciman's 'Call Me by Your Name.')
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'It is unacceptable for any content we provide to our readers to be inaccurate. We value our readers' trust in our reporting and take this very seriously,' Victor Lim, senior director of audience development for Chicago Public Media, said in a statement.
'We've historically relied on content partners for this information, but given recent developments, it's clear we must actively evaluate new processes and partnerships to ensure we continue meeting the full range of our readers' needs,' he added.
Lisa Hughes, the publisher and CEO of the Philadelphia Inquirer, said the special section was removed from the e-edition after the discovery was made. 'Using artificial intelligence to produce content, as was apparently the case with some of the Heat Index material, is a violation of our own internal policies and a serious breach,' she said in a statement to The Washington Post.
Much of the content for the section was written by Marco Buscaglia, a Chicago-based freelance writer who used AI chatbots during the writing process, he told The Post in an interview Tuesday. Buscaglia said the insert, which he began writing in February with a March deadline, wasn't written with any specific cities in mind, and he didn't know which newspapers would run it.
Buscaglia said there was 'no excuse' for not double-checking his work. When he started writing the recommended books list, Buscaglia said, he considered looking at Goodreads or calling local bookstores for recommendations. But instead, he asked AI chatbots for help. (Buscaglia said he was unsure which chatbot he used, though he said it was either ChatGPT or Claude.)
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'I'm very responsible about it. I do check things out, but in this case, I mean, I totally missed it,' he said about using AI in his reporting. 'I feel like, if given the opportunity, I would approach these things differently and have a lot, you know, obviously better set of filters.'
'I do feel that it also misrepresents the Sun-Times, the Philadelphia Inquirer,' he said, adding: 'I feel bad about that, too - that the papers somehow [get] associated with that.'
The misstep comes as the media industry wrestles with the advent of AI. Large language models and AI chatbots don't always search the web for information, relying on preinstalled knowledge, which can lead them to spit out incorrect or misleading information. Critics have said that newspapers that use AI tools risk exposing readers to low-quality reporting and misinformation, contributing to a rising mistrust of journalism.

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Jonathan Anderson's Grunge Aristocracy at Dior
Jonathan Anderson's Grunge Aristocracy at Dior

Business of Fashion

timea day ago

  • Business of Fashion

Jonathan Anderson's Grunge Aristocracy at Dior

PARIS — The enormous tent constructed in the Place Vauban for Jonathan Anderson's debut at Dior was printed with a silvery evocation of the past, a monochrome image of Christian Dior's decorous couture salon. Fast forward to the present, 75 years later. That tent had been exhaustively climate-controlled to allow for the hanging of two paintings by Jean Siméon Chardin, the 18th century artist who is regarded as the master of the still life. He was a favourite of Dior's, Anderson's too. The Chardins were his idea. So was the inspiration for the showspace, clad in velvet like the Gemäldegalerie in Berlin, home to one of the finest collections of European art from the 13th to the 19th century. One Chardin came from the Louvre, the other from the National Gallery of Scotland. Reflect for a moment on the logistics involved in transporting monstrously valuable works of art to a tent packed with an unruly, heatstruck audience for one hour on a Friday afternoon in Paris and you'll maybe garner some notion of the political and financial power that a fashion conglomerate like LVMH, which owns Dior, now wields. Ah yes, the present. Dior Menswear Spring/Summer 2026. (Spotlight/ And the future? Well, for that single stretch of showtime, it rested in Anderson's hands. He's been cast as Dior's saviour in a challenging market — and is the first to oversee women's, men's and haute couture collections since Monsieur Dior himself first experimented with menswear. Unsurprisingly, Anderson has been soft-pedalling expectations. 'You have to, because no one gives anyone any time anymore,' he conceded at a preview earlier this week. In another exchange, he said, 'My idea is to be slightly optimistic, it's not going to happen overnight. We have to be realistic today.' But his attempt at lowering the temperature was clearly unsuccessful. His audience was littered with pop stars, movie stars and a full platoon of fashion peers, many of whom were on their feet at show's end. Dior Menswear Spring/Summer 2026. (Spotlight/ Anderson was insistent that Dior was something alien to him. 'It's not a character that I know.' But that's what seduced him. 'It's like buying a chateau in the South of France that you saw on a website, a very British thing to do. It's beautiful, but it needs so much renovation. You have to start somewhere, and as you go, you realise, 'Wow! It's amazing what they did in the 18th century with door handles,' and then you find the next thing and the next thing.' And those 'next things' were the years of input from all the designers who have worked for Dior over the decades. To isolate the most striking carryover from the past in Anderson's debut collection: Maria Grazia Chiuri's wildly successful book tote reappears rendered as the covers of specific titles, In Cold Blood, Bonjour Tristesse, and, luridly best of all, Dracula. ('Because it's Irish,' he said archly.) He compared the learning process to doing a PhD in Dior. What did he come away with? 'I feel the name is bigger than the individual designer. It was always like that. So that was the whole idea for me.' Dior Menswear Spring/Summer 2026. (Spotlight/ There will undoubtedly be plenty of people who look at what Anderson showed on Friday and question his concept of permanence. 'My idea was to decode it to recode it,' he explained, sort of. 'That's how the collection was built.' Take the first look, practically a manifesto in one outfit. 'How I feel I'm going to tackle men,' Anderson declared. 'Formality, history, the material, Irishness.' The cargo shorts were panniered with the extravagant folds of the Delft dress from 1948, originally carved from 15 metres of duchesse satin, duplicated for today in undyed denim. The jacket featured the classic Bar silhouette, cut here from Donegal tweed. The model sported a formal stock tie. 'An English stock,' Anderson explained, 'the French is looser. I like the idea of something that makes you lift your head up. There's an etherealness to the formality.' The shoes were based on the sandals he wore to school in the summer. In other words, a weird but winning fusion which spanned the decades between the Frenchman and the Irishman. Dior Menswear Spring/Summer 2026. (Spotlight/ 'For me, it's about a quiet radicalism,' Anderson said. 'For the customer, this is already going to be something that is pretty wild, but in my head, it's normal.' Why is it easy for me to imagine Christian Dior saying something similar 75 years ago? And if my proposed compatibility still seems like a bridge too far, there's their shared obsession with the 18th century. 'I got the guy who's been sourcing things for me for years to find me the best 18th century menswear, and then we meticulously recreated it. There was no point in changing the fit. When I saw it, I thought, 'That's Dior. Let's just put it up there as a thing.'' Like his own version of Martin Margiela's 'Replications' which he loved so much when he was starting out in fashion. Rebecca Mead's profile in the New Yorker earlier this year quoted Anderson saying this: 'Authenticity is invaluable. Originality is nonexistent. Steal, adapt, borrow. It doesn't matter where one takes things from. It's where one takes them to.' So Anderson showed his delicately toned, edibly alluring duplication of the jacket and waistcoat from an aristocrat's summer day look for the court of Louis XV with a dress shirt, black jeans and unlaced Dior trainers. Dior Menswear Spring/Summer 2026. (Spotlight/ Like that first look, it was a provocative encapsulation of the idea of personal style, or how you put things together to express yourself. A midnight blue velvet tail coat over chambray jeans, for instance. Or a delicately frogged white shirt over white jeans. Artistry and calculated artlessness, all of it set to a sensational Frederic Sanchez soundtrack that swung from Springsteen to Little Simz. Velvet, denim, sandals and a stock tie – 'I would love to be able to wear that,' Anderson said. 'Every time I've done a menswear show, I've always wanted to be able to do something I would love to be able to pull off. For me this is a fantasy, because it has to be. I find each person in the show equally attractive because I think they embody the 'thing.' I believe it, and if I believe it, then I want to dress like it.' Fashion as an act of faith: Anderson mastered that challenge at Loewe, and, if early reactions are any indication, he'll be able to translate that mastery to Dior. Dior Menswear Spring/Summer 2026. (Spotlight/ Finding the future in the past is not a particularly novel concept, but if I think for a moment that everything Anderson has done is almost like a movie, it clarifies how he was able to draw such an extraordinary cast of characters to Loewe and his own brand. One of them, director and frequent collaborator Luca Guadagnino, has been tracking him all week with a film crew. The designer talked about the looks in the show that were pure youthful street as his acknowledgement of Jean-Luc Godard and the nouvelle vague that transformed French cinema and French style, from New Look to New Wave. Anderson said it's also about him getting used to living in Paris, trying to work out what he loves about the city. 'I'm on Île Saint-Louis and there's something about this idea of tight grey corridors that have light at the end. No matter when you see people, they're always backlit. And everything looks great backlit. I find it fascinating because it feels like cinema somehow, and really that is how we approached the challenge.' Dior Menswear Spring/Summer 2026. (Spotlight/ The city is currently plastered with posters of artist Jean-Michel Basquiat and footballer Kylian Mbappé, the faces of the new Dior man (or, as Anderson says of Mbappé, 'a new vision of France'). 'I have to find a new language,' Anderson said. 'It's going to take time, and I don't want to be rushed. Anything is possible. At the end of the day, it's a job. And you always have to remind yourself that you love the work and you're gonna get the job done.' Consider this debut a great appetiser for the much more complicated meal to come. Dior Menswear Spring/Summer 2026 Dior Menswear Spring/Summer 2026 look 1. 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Audiences Are Rejecting These 12 Queer Tropes In Films
Audiences Are Rejecting These 12 Queer Tropes In Films

Buzz Feed

time06-06-2025

  • Buzz Feed

Audiences Are Rejecting These 12 Queer Tropes In Films

SO MANY memorable queer characters on-screen have stolen our hearts. 💕 Their romance was goals for everyone, not just the queer community. However, some of our favorite movies had the most cliché queer tropes, which we all got tired of watching on repeat. But things are slowly changing for the better in the 21st century, and although it is slow progress, we are very happy to see it happen. To reminisce, I have compiled a list of clichés around LGBTQ+ characters that are ignorant, far from reality, and honestly an offense to the entire queer community. Here are 12 old-fashioned queer tropes that fans are excited to say bye-bye to: The gay best friend is extremely outdated, and we are glad to see it go away — slowly but surely! I think I can speak for everyone when I say this trope is old. Why must it be the gay best friends who have to sit and listen to the woes of the main character (who honestly ends up being the most bratty character, making awful decisions)? It is not as though they do not have enough problems of their own, like fighting for equal rights and being recognized in some countries! Like, come on, Andrea, Nigel has to move up the ladder of corporate success — give him some space! Queer individuals are either in toxic relationships or dying to be in a relationship — there is no in-between. It seems like in the fairytale land of Hollywood, queer individuals are either in toxic relationships, jumping in and out of relationships, or striving to be in a relationship. Some examples of toxic queer relationships are Elio and Oliver in Call Me By Your Name, Rue and Jules from Euphoria, Kurt and Blaine from Glee, and the list goes on and on. But you get my point. In contrast to this, seeing a healthy and compatible couple like Mitch and Cameron from Modern Family was a refreshing sight. And it is a step towards improved writing for queer couples. We no longer want to see queer couples dying on us— we want them to live to be 100. I just have one question for this film's director and writer: WHY? I know audiences love a good romantic drama, but why is it always at the expense of wholesome queer couples and characters? Brokeback Mountain made me lose faith in love and all kinds of relationships in better not do this to us again, Hollywood. Lesbians are not predatory, cold, and distant — and it's time Hollywood accepted that! In many TV shows and movies, lesbians are often portrayed as cold, uptight, or 'predatory,' like Mila Kunis' character in Black Swan or Villanelle in Killing Eve who is shown as dangerously obsessed with Eve. I think writers get confused between a guarded and secure woman and a brooding and emotionally unavailable woman — which ends with female characters who never explain why they cannot love their partner. I love Rosa Diaz, and I think her character should be a template for writers when it comes to writing straight, bi, and lesbian characters. Movies having queer characters as ornaments in a film for inclusivity. Okay, showing Dumbledore having a romantic tiff with Grindelwald threw me off majorly. It was highly unnecessary, which is why I hate this trope the most. A lot of films want to appeal to the younger audiences, and the way to do so is through diversity and inclusivity. And thus, they include a couple of gay or lesbian characters to show 'support' to the community. But that's that. No real character development, no complex emotions, no characteristics, nothing. It's like having a queer character in the film is just an ornament to make the film prettier. And that's downright offensive. Aren't we glad we're kind of done with this? Yes, we are. When the creepiest villains have queer mannerisms simply because they get obsessed with the protagonist? There are a few villains who are deemed charming, intelligent, and a bit too suave for their own liking—and audiences can tell that there is a hint of queerness to these villains who are obsessed with the protagonists — making them alluring but also I'll tell you why I don't like this trope: it attaches queer individuals to evil and creepy, which is a gross from Skyfall, Hannibal from Hannibal, Lestat from Interview With A Vampire, and Moriarty from Sherlock Holmes are some examples.I mean, straight villains are also obsessed with heroes; take Thanos, for instance. That guy never gave the Avengers a break. When queer love and drama happen only in flashbacks, with no mention of it in the present. When a film's lead is queer, them being queer is either the entire plot — hyper-focused and dramatic — or it's buried in their backstory, never shown or explored onscreen. There's rarely an in-between. Like any other love story, we want to see all the aspects of the love life a queer character has. The highs AND the have seen this in films like The Imitation Game, Rocketman, and Bohemian Rhapsody. Their love life is present only in flashbacks, like it is unimportant or does not add to their story. However, the tide is changing with the show Fellow Travelers and how it maps out Tim and Hawk's relationship. AND IT'S ABOUT DAMN TIME! The closeted bully who physically attacks others because of his inability to accept his sexuality. This is probably the MOST used queer trope in films, and honestly, we are done with this. Dave physically hurting and abusing Kurt in Glee because of his homophobia must be exploring their sexuality deserve more sensitive, nuanced portrayals than simply depicting them as bullies. While it's a real experience for some, this trope often reinforces harmful ideas about masculinity and queerness rather than challenging them. Adam from Sex Education is a better portrayal of someone understanding their sexuality, and we need more of it — ASAP. Gay men who turn away from true love and marry a woman. I've seen this trope too many times, and honestly I've grown tired of it. Why show us such fabulous chemistry between two hot individuals — only to have them turn away and marry the opposite gender? We're glad this is the stuff of the past (ish).Queer couples deserve happy endings! When coming out was used as a plot device to make the show interesting rather than inspirational. We love seeing more queer representation in films and TV shows — except for when it is used as a plot device and the writers did not even try. Cheryl coming out as gay and having a relationship with Toni in Riverdale was great; but if it wasn't blatantly obvious, it was purely meant as a turn in the obviously bad series to make it better. This has changed for the better now, with films like Love, Simon, and shows like Heartstopper, which are actually inspiring for the younger generations and not used as a tool to increase more queer-centered shows and movies coming out, I think we can safely put this irritating trope behind us for good! Portraying queer individuals as promiscuous and flirty. This trope is completely based on degrading stereotypes of the queer community, and I WILL NOT STAND FOR IT. With characters like Connor from How to Get Away With Murder, queer individuals are portrayed as the wild party crew — flirty and all about hooking up. However, with shows like Heartstopper and Sex Education, this narrative is slowly fading, we shift from hooking up to deep and slow love. And we love to see this.I cannot get enough of Matt Bomer and Jonathan Bailey's love in Fellow Travelers. They are the definition of yearning. The once hyped 'girl-on-girl' action for the male gaze — which has now shifted for the female gaze! Men often hype up the girl-on-girl trope in guesses why?These scenes are crafted for the male gaze, reducing lesbian relationships to just a physical spectacle with zero emotional depth. It's sickening to see Things is a prime example—over-sexualized leads, no real connection, just fan lucky for us, since then, filmmakers have grown to portray mature relationships between women— like Carol, which was oozing yearning and sexual tension, or A Portrait of a Lady on Fire, which was for the female gaze from start to finish — all done the right way. These tired tropes just prove that a lot of mainstream cinema — and its audiences — write queer characters like they've never actually met a queer person. It's all stereotypes, trauma, or fantasy. Honestly, we're over it. Give us more queer stories that are joyful, weird, wholesome, messy, real. Not everything needs to end in heartbreak or be a sob story. Sometimes, we just want to see queer people falling in love over coffee, going on awkward dates, or surviving Monday.

The OpenAI board drama is reportedly turning into a movie
The OpenAI board drama is reportedly turning into a movie

Yahoo

time03-06-2025

  • Yahoo

The OpenAI board drama is reportedly turning into a movie

A film that will portray the chaotic time at OpenAI, when co-founder and CEO Sam Altman was both fired and rehired within a span of just five days, is reportedly in the works. According to The Hollywood Reporter, the movie is titled 'Artificial,' and it's in development at Amazon MGM Studios. While details aren't finalized, sources told THR that Luca Guadagnino, known for 'Call Me By Your Name' and 'Challengers,' is in talks to direct. The studio is considering Andrew Garfield to portray Altman, Monica Barbaro ('A Complete Unknown) as former CTO Mira Murati, and Yura Borisov ("Anora") for the part of Ilya Sutskever, a co-founder who urged for Altman's removal. Additionally, 'Saturday Night Live' writer Simon Rich reportedly wrote the screenplay, suggesting the film will likely incorporate comedic aspects. An OpenAI comedy movie feels fitting since the realm of AI has its own ridiculousness, and the events that took place two years ago were nothing short of absurd. In November 2023, Sam Altman was dismissed from the AI company and resigned from both his position as CEO and his role on the board. The rationale was that the board no longer trusted Altman to lead effectively. However, just five days later, after numerous discussions and negotiations, an agreement was reached, resulting in Altman's reinstatement. No matter who is cast in this movie, it'll be fascinating to see how "Artificial" portrays the drama and what the overall reception will be among general audiences, especially considering the increasing prevalence of AI tools like ChatGPT. This article originally appeared on TechCrunch at

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